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Page 44 text:
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ltriowing lt That night they quietly
slip the logs one by one out of the
lagoon, while the guard sleeps. O
awakening he sees Chris plowing
nolselessly through the water with
the last log. A flerce water battle
follows, but Chris is victorious and
the logs are saved
Q " Cornelia Meigs' keen interest in
United States history is manifested
in this novel as in many of her other
books. Although the main purpose
of the author was to entertain the
much interested reader, one also
learns a great deal about the hard-
ships of a steamboat captain and his
crew. In the conclusion, Chris re-
ceives his hard earned money and re-
turns to his waiting grandfather in
Vera Wright, 47.
Among the numerous characters IS
a tall heavily built man who had
beerrreared among the Indians and
who later struggled with the white
men to force the Indians to search
for new land on which to live. Angus
McDermott the light blue-eyed man
was hardly ever seen without h's
musket which to him was his only
means of protection while living' his
rugged life.. When he fell in love
with a young girl, his life did not al-
together change, but he did become
a little less adventurous.
An inspiring scene is one in which
McDermott searches for the girl for
whom he had a deep affection.
Earlier, she and her family were im-
plored by McDermott to leave their
home because of a neighboring un-
- " if
Nancy Phillip ' '46
NEW ORLEANS Amelica's most
- interesting city was once the
cultural center of the New World-
musically, the little Paris of America.
As, early as 1837, the first perform-
ances of serious opera in New Or-
leans were given at the Theatre d'O1'-
leans starring Mlle. Julia Calvee and
scoring immediately a 'tremendous
success. Yet even before this, light
opera, opera bouffe, and drama had
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, , ,Forty-1199 ' ' '
Shadow Of The
. Thomas Boyd A
ACCOUNTS of the early settlement
conflicts between the white men
and the Indians are revealed in
numerous booksg among this vast list
is "Shadow of the Long Knives." In
each absorbing chapter, we find a
story of fierce struggle between 'the
white men andthe Indians, and, ac-
cording to the author, the entire story
is a true history of early American
life, V 1
Nancy Phillips, '46
MR. WALTER HERBERT, general
director of the New Orleans
Opera House Association, has an-
nounced the soloists and operas se-
lected for this coming 1945-1946 sea-
son. The operas will be "Traviata,"
November 8 and 10g "Barber of Se-
ville,'?fNovember 21, '22, and 243
'fRigoletto,'? December 6 and 83
'iflanselland Gretel," December 22
and 235 "'Manon,-" January 3 and 53
"PagliaeEi" and "The Old Maid and
the.Thief,'l .January 17 and 195 'A'Car-
men," January 31 and February 23
friendly tribe, the Shawaneseg how-
ever, on their refusal to heed his
warning, they were subsequently
captured by the tribe. In his search
for Charity, the young girl of the
family, he was successful: she was
released to h-im from the Indian tribe
on an agreement. '
Thomas Boyd, the author of this
enjoyable book, probably wrote it to
improve the knowledge of those who
know little about early Americans
and to recount the feelings regard-
ing land settlements between the
white men and the Indians during'
those pioneer days of America. In-
deed, the romantic lives of two main
personalities prove to be most ideal-
istic and satisfying to the reader.
"Abduction from the Seragli0," Feb-
ruary 13, 14, and 165 and "Faust,"
February 28'and March 2.
The soloists include- a group of
Metropolitan Opera-singers: Licia
Albanese, Lily Djanel, Raoul Jobin,
Thomas Hayward, and Nicolo Mosco-
no. Others signed were Hilde Reg-
giarii, Ivan Petroff, Charles Good-
win, Eugene Conley and Jess Walter.
The latter three are returning from
last year's presentations. These fa-
mous artists combined with the
operas selected shall make these win-
ter concerts a notable 'season musi-
cally. ' ,
been presented. In the 1840's sev-
eral famous opera companies were
brought from Europe and gave at the
orleans, si. Philip, and st. Charles
Theatres, as they are now called,
many performances of creditable
opera. Records today show that
many an opera received its New
World premier at these theatres.
Three of the best-known of these
"first-performances" were Donizetti's
"Lucia di Lammermoorf' and Ha-
levy's "La Juive," which were pre-
sented respectively in 1841 and
to Lyle Saxon, New Orleans' favor-
ite. This is indeed ia remarkable
showing for the early eighteenth cen-
tury. ' '
Many concerts were given at the
St.- Charles Theatre from 1840- to
1855. Jenny Lind, the "Swedish
Nighiiiigiilf-i," and Ole Bull, the
violinist who was a friend of Edward
Grieg, were among the most success-
ful artists presented. Miss Lind's
success is evident, for the tickets to
her first concert were auctioned off,
the first one selling for 5240! In'
1853 Maurice Strakosch, who was
appearing with Mr. Bull, introduced
Adelina Patti, his protegee, who was
then but ten years old! But the best
and most famous of these musical or-,
ganizations had not yet been formed,
for the French' Opera House wasfnot
to come into .existence until 1859i-, Q4
Among the many' fine' recogniaeld
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Page 43 text:
.41 Y in g'X2'i1?fi"5'i'f-' Yzfs, V 7' if , '
v A. I 2 -.Pie 5"jrlfi3faf:,,!f.,.ix5??if
By Honore Morrow
IN March, 1861, the United States
was alive with inward struggleg
the strong bonds of the Union were
severed and bleeding. The Southern
States, joining together to form the
Confederacy, elected Jefferson Davis
to lead them in their fight-for slav-
ery, while Abraham Lincoln, the
backyard lawyer, was inaugurated as
President of the United States. Be-
cause the author gives an accurate
account of the arguments for and
against slavery, one understands the
Southern land-owners' great need for
slaves, but realizes that the equality
of man holds true, regardless of
Though his appearance does not-
merit it, -Lincoln was possessed of a
brilliant mind and a charming per-
sonality. He awkward height, his
too prominent ears, his shambling
gait, his huge hands and feet, and
the striking sparkle of his grey eyes,
full, deep, and penetrating, were
merely disguise for a man, whose
genius will be remembered forever.
Mrs. Morrow' excels in her portrayal
of Lincoln and his struggle to over-
come many hardships.
' When the time came for Lincoln
and Tad, his youngest son, to leave
the Union army camp, which they
visited, Taddie seemed to have mys-
teriously disappeared. Finally, he was
found by the bridge, crying 'for his
father. On his arrival, Lincoln asked,
"Did you get homesick all of a sud-
den, Taddie?" f'Don't touch me,
Papa,".commanded the tiny lad .in a
voice hoarse from long sobbing. "Pm
unda' my own a' west. I sent fo' you
to tell you I have ,to stay hea'alI
night." "What bad thing have you
done, Taddie?" Lincoln asks solemn-
ly, "I killed something I loved. The
co'po'al gave me a little weeny white
kitten. Then I stopped hea' to play
with itg I played it was Jeff Davis
and I was an Indian chief and I threw
my bowie knife at it. I didn't want
to hu't it but the di'ty skunk of a
E-C-H-O-E-S . ,
knife slipped and went in the kit-
ten's soft belly and it mewed and
mewed, and I couldn't stop it or help
it, and it died. I knew you wouldn't
punish me so I'm doing it myself."
In this touching scene, the author de-
scribes'the character of "Tiny Tad"
and his knowledge of his father's
"Forever Free," an intriguing his-
tory of Lincoln's life -in the White
House, is a fast-moving account of
the "Great Em,ancipator's" struggles
for the abolition of slavery. Becom-
ing familiar with the prominent poli-
ticians and problems of the dav, the
reader thereby increases his knowl-
edge of facts concernnig the Civil
War. Many of the everyday happen-
ings which influenced Lincoln's mag-
nificent decisions arelvividly and ac-
curately described by Mrs. Morrow,
whose ceaseless research into the life
of Lincoln is shown by the length of
the bibliography. Exceeding-ly en-
ioyable are the scenes concerning
Lincoln's relations with his family:
his gentleness in the rearing ofhis
children is the source of much hu-
mor. Highlv entertaining, this en-
chanting book should be enjoyed by
any reader whol desires a better
knowledge of Lincoln's term as Pres-
ident ofl-our country.
Ann Levy, '46.
Red Rock .
Thomas Nelson Page
THE setting is laid in the' South,
somewhere in that vague region
partly in one of the old Southern
States and partly in the yet vague
"Land .of Memory." The people in
the story speak of it as, "the Red
Rock section," "the old country," or
just, "my country, sir."
Of the many characters the one
who impresses the reader most is
J acquelin Gray, the son of the owner
of Red Rock. In the opening scenes,
Jacquelin and Blair Cary, the beau-
tiful young daughter of Dr. John
Cary are playmates. When war is de-
clared, Jacquelin, fifteen years- old,
. , '.-13.14 x I
leaves to fight for the South, and
when he returns, to his home after
the war, he finds many of the old
places destroyedg because of' an
illness, Jacqulin takes a trip around'
the world. Upon his return, his Mo-
ther dies leaving his brother, Rupert,
and him under the guidance of Aunt
Thomasia. With the other men of
that section, he then fights the car-
pet-baggers and finally overcomes
their tyrannical rule. In the end,
Jacquelin marries Blair and returns
to his former home.
Mr. Page, a prominent author of
Southern literature, lucidly describes
the rolling Red Rock country, the for-
ests and meadows, and the sparkling
streams bubbling over rocks or wind-
ing under willows and oaks. We see
the realm of old time courtesy and
high breeding, when all men bow low
before ladies and wear swords to de-
fend their honor. The author has
given us an engrossing novel in
which he brilliantly combines adven-
ture, tragedy, and humor.
Rhea Brennan, '46.
THIS adventurous story of the early
nineteenth century has for its
setting the section of the turbulent
Mississippi River between a small
Swedish settlement in Minnesota and
St. Louis, Missouri.
In "Swift Rivers" Chris Dahlberg,
the main character, is a young
Swedish boy with 'all the determina-
tion and courage a youth can pos-
sess. Being ill treated by his uncle,
Chris leaves him and goes to live
with his aged grandfather who abides
in a large forest. Striving to find a
way to make money to support his
grandfather and himself, he cuts
timber from the forest and floats it
down the river to St. Louis. '
An arresting scene is one in which
some of the most valuable logs dis-
appear during a wreck which occurs
on the trip down the river. Chris
and a friend desperately- set out in a
small boat to look lfor them. After
hours of searching, the boys find the
logs in a small lagoon guarded by
hostile Indians. Plans are madefor
retrieving them without the Indians
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Page 45 text:
musicians that New Orleans has pro-
duced, there is one that should not
be omitted in a discussion of New
Orleans music. Louis Moreau Got-
tschalk of Creole descent was born
here in 1829. Taken to France whenf
he was only thirteen, he studied in
Paris with Berlioz, and soon made
his debut, achieving immediate suc-
cess for both his virtuosity and his
compositions. The immortal Freder-
ick Chopin once predicted that Got-
tschalk would become the king of
Orleans the musical center of the
Southern -States, disappeared into
flame, smoke, and ashes.. It was
destroyed by a fire just a few
months after the death of Adelma
Patti the singer who was so closely
associated by Orleanians with the
old French Opera House.
At the beginning of the twentieth
century, a new type of music was
created in New Orleans by Negro
levee workers. This style, which be-
came popular about 1915, was origin-
ally named jazz. However, it might
have been called the "slang" of
musical expression, for like slang it
. .- N, is 'PST'-:-T..r' . " -"F
By Julia Hamrlck 4
EVERAL of our McMain girls had
the privilege of attending the
Opera Comique version of "Carmen"'
in an easily understood English trans-
lation. The Municipal Auditorium
was packed that April 19, and the
visiting troup of Columbia Concert
artists was well applauded .and en-
thusiastically received. The Bizet
music was beautifully rendered by an
orchestra of one-half local talent and
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pianists and be long remembered.
His compositions, like those of Chop-
in, are similar to the "local-color"
works of literature, for as their sub-
jects he took songs expressive of his
period-the Louisiana Negro and old
Creole melodies, and French-Cajun
folk songs. There are a great many
others who deserve mention--Ernest
Guiraud, the opera-writer Whose first
work was presented when he was
only sixteen 5 and Emile Johns, a
salon-music composer who won con-
siderable recognition for his "Album
Louisianaisn-but for the Amoment,
Gottschalk, the best-known, is suf-
Ten years before Gottschalk's
death in 1869, a building was erect-
ed five blocks from Canal Street, at
Toulouse and Bourbon Streets, that
was destined soon to become the
center of the social- life of New Or-
leans, and the most fashionable opera
house in the land. The French Opera
House Association, erected in 1859,
brought to New Orleans many fa-
mous European artists, who usually
remained here the entire season.
Adeline Patti, who toured Europe
successfully several times and who
was the favorite of everyone, was
just one of the many famous' sing-
ers presented-Mme. Urban, Mile,
Hitchcock, and Mlle. Calvee. Mlle.
Patti's brilliant debut, when she was
only seventeen, was made at the
French Opera House--not at Lon-
don, where she won international
fame a year' later, as it is so wrongly
stated. Among the many outstand-
ingkworks given their American pre-
miers here were: Bizet's "L'Arlesien-
ne," Massenet's "Herodiade" and
"Werther", and' Saint-Saens "Sam-
son et Delilah". After sixty years
that held war, peace, prosperity and
poverty for the South, the French
Opera House, which had made New
li-C-H-O-E-S ' Q. '
is constantly changing-first jazz,
then rag-time, the blues, boogie-
woogie, and swing, as it isnow called.
Popular American artists like George
Gershwin, composer, and Paul White-
man, conductor, have done much to
better jazz and its derivatives. Per-
haps some day it will be classed as
ffolkj music typical of the restless
spirit during the First world war
andthe depression which followed it.
In any event, jazz will leave its trace
on American music. ,
As a final word in this discussion
of New Orleans music, it can be said
that New Orleans is rebuilding its
reputation as a music center. For
ten years, the -New Orleans Sym-
phony has been giving winter concerts
to music lovers, and during this pe-
riod it has been constantly improv-
ing, both in musicianship and size.
The Opera House Association has
been giving many delightful per-
formances of grand opera with guest
singers of Metropolitan rank. The
location of the Summer Pop Con-
certs, which were given in Elk Place
just off Canal Street, has been chang-
ed to an even larger and better place
-Beauregard Square. All three of
these musical organizations have unit-
ed under the Community Music
Fund, which at present has reached
only sixty per cent of its goal of
S150,000. This winter season, New
Orleanians are looking forward to a
brilliant series of operas and con-
certs with many famous artists. No
longer will one recall ,the "good old
days", speaking of the French Opera
House, with sadness. The conversa-
tion will be of the coming perform-
ances, instead of the past ones, or
perhaps it will be of a new star from
New Orleans-indeed, the conserva-
tion might be of a new opera written
by an Orleanian.
one-half visiting musicians, and the
singers well-typed to their respective
roles. The cast included Mona Pau-
lee of the Metropolitan in the title
role, Edward Kane as "Don Jose",
Donald Dickson as, "Escamillo", and
Frances Yeend as "Micaela". The
distinguished Leopold Sachse was
stage director. "Carmen" herself
was lovely and talented, and gracious-
ly answered many well-deserved cur-
tain calls. Supporting artists, the
orchestra, ballet, costumes, and
scenery-all deserve a special word
of praise. 'As one of the world's
great masterpieces, "Carmen" is as
modern in spirit and as vital in music
today as it was the day it was writ-
ten, and its charm has not suffered
in the English translation.
Orchestra Notes i
Kathryn Kirst '46
MCMAIN'S orchestra under the di-
rection of Professor Carl L.
Kirst gave a concert on May 15
for the public. Such numbers as the
well-known "Voice of Spring" by
Strauss and a special string arrange-
ment of Dvorak's "Humoresque"
were included in the selections for
that night. "Le'Fileuse", a delightful
harp solo by Hasselman, was artistic-
ally rendered by Rosemary Stockton.
Viotti's Violin Concerto performed
by Master Carl Kirst was an added
attraction. Catherine Scblueter, the
featured vocalist, sang the very pop-
ular "It Had To Be You" and "You
Belong To My Heart". A chorus of
two hundred voices directed by Miss
Weiss gave Victor Herbert's "Thine
Alone" and Rob' Roy,Peery's "Amer-
ica, My Wondrous Land". Both pro-
grams were thoroughly enjoyed by
all. , i . K
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